Criminal drama “Fight“. Who managed to bring together together Pacino and De Niro?
Art do not suffer immediacy and haste. Cinema to that the brightest confirmation. The film shot hastily so quickly is also forgotten. Masterpieces demand time to ripen in the creator head. The director and the screenwriter of “Fight“ (Heat, 1995) Michael Mann more than 20 years chopped off on television before starting shootings of the most sign movie.
For these years it processed a huge amount of material on a subject therefore perfectly understood that the genre chosen by it is in moral decline. On a subject of the criminal drama everything was told and shown for a long time by masters. After “Godfather“ Coppola, “Once in America“ Leon and “Good guys“ Scorsese was simpler to be shot, than to tell something new.
As one would expect, ideological stagnation generated two currents. The cachectic streamlet of talented and innovative works is connected with names of Tarantino (“Reservoir Dogs“, “Pulp fiction“), Guy Richie (“Cards, money, two trunks“), Bryan Singer (“Suspects“). And the sea razlivanny the dull punchers tirelessly duplicating everyone and everything in a pursuit of long dollar. The last was so much that soon at general public the criminal genre lost all respect. Against this sad phenomenon Michael Mann`s “Fight“ was “god-send“, a breath of fresh air, a new round of epic sagas about opposition of police officers and thieves.
… A scene of action - Los - Andzheles, Sin City. The world famous capital of “Factory of dreams“ is shaken from impudent and inventive robberies which are directed by a certain Neil Makkoli (De Niro), the person without the past and with very doubtful future. Makkoli is a criminal of an old school, with the principles. Its team is small, but at it there are only reliable and checked professionals. The key to success of any enterprise - in the accuracy, speed and strict observance of rules. But also on the old woman there is a prorukha.
Having received the order for a robbery of the cash-in-transit vehicle, Neil takes on business of the person from outside. The beginner was a rotten radish, the psychopath and the traitor. Simple operation on withdrawal of securities turned back a bloody bath therefore Neil and his people appeared between two fires. On the one hand, they infringed on interests of the powerful mafia banker Van Zant, and with another - got to a visibility range of the cool detective Vincent of Hanna (Pachino). Hanna, as if the chain dog, caught a thin thread and met face to face the most worthy opponent soon.
Understanding that the ring around it is narrowed, Neil decides on the last high-profile case - a robbery of bank in broad daylight. Then plans to take the beloved in an armful and forever to leave the “hospitable“ megalopolis. But too much he crossed the road. Neil likes to repeat: “Do not dare to become attached to something that you will not be able to leave in half-minute to the mercy of fate if you feel sudden threat“. And as if he did not want to follow this principle, in his life there are people to which he is obliged. Ahead it has the last, irreconcilable fight which will not be possible to escape or hide from it …
needs to thank Bonnie Timmerman who was responsible for casting for the fact that it managed to collect so magnificent cast. Since the time of second “Godfather“ each producer slept and saw how in his picture two greatest stars of world cinema - Robert De Niro and Al Pacino side by side shine. But there were years, and nobody managed to repeat Coppola`s trick. However, formally actors in “The godfather 2“ did not play in couple, their characters (young Don Vito Corleone and his matured son Michael) were in the different temporary periods and in one shot could not meet. And here burst a bolt from the blue when it became clear that these “inhabitants of heaven“ will not just play together, but will rise on different sides of the law in the movie of Michael Mann who became famous in 1992 for the filigree screen version of the novel of James Fenimore Cooper “The last from Mohicans“.
Mann fostered a criminal genre for a long time on television where it worked as the screenwriter and the director, including at such popular TV series as “Vegas“, “Narkovoyna“ and “Police of Miami: department of customs“. It possesses the first attempt of screen versions of books of Thomas Harris, “The people hunter“ where for the first time on the big screen the famous character of Hannibal Lecter will appear. However neither its laborious work on TV, nor the first full-length experiences, nor even “The last from Mohicans“, the consolation prize which won at the Oscar ceremony for the best sound, did not become for Mann something special. And then it was to the maximum enclosed in “Fight“, having literally given each shot a high polish.
Without having innovative impudence of Tarantino, Mann decided to do without experiments. Instead of “to read on diagonal“, it dug deep into. Without wishing to copy predecessors and to romaticize underworld, he was on the side of “conditional“ good. Conditional because the irreconcilable and rested cop Vincent Hanna which brilliantly embodied on Al Pacino`s screen is not a role model at all. Unlike an assembly of faceless fighters against crime which Hollywood cloned annually in tens this character turned out properly inconsistent. As, actually, and its alter - an ego in the person of basic, but ruthless to the enemies, the robber Neil. These two are worthy each other and their personal opposition became the main sight of “Fight“.
And, nevertheless, not be stars are surrounded with other outstanding personalities, not to happen to the movie in the list of the best pictures of all times. Val Kilmer, Tom Sayzmor, John Voight, Ashley Judd, Ted Levayn, Wes Stadi, William Fikhtner, Natali Portman, Hank Azariah, Henry Rollinz and Danny Trekho. All of them brought the important contribution in success of a picture, having represented capacious characters, live emotions, genuine feelings on the screen. Each role - a minimasterpiece, whether it be the foster daughter of Hanna cowed by fatherlessness (Portman), the unscrupulous shopkeeper (Azaria) or the mean and coward banker (Fikhtner). Only thanks to such strong actor`s team, “Fight“, despite timing lasting 170 minutes, limit for movie theaters, it is possible not to sag in dialogues.
We will separately note also the tallest master - the class shown by the operator Dante Spinotti. Together with it Mann created a number of unique scenes with which world cinema was really enriched. It and intense dialogue of two heroes in cafe, and final fight, and, of course, the street firefight, ingenious on heat and execution, which became a role model for all subsequent generations of cinematographers. Add to it very exact, verified on seconds music line of the composer Elliot Goldental.
It would seem, it is so much kind words, but in the homeland “Fight“ swept middlingly, hardly - having hardly beaten off 60 - the million budget. Then made much bigger success abroad where the viewer smoothly went on De Niro and Pacino`s names. In seventeen years Mann`s picture seriously rose in a rating and now surely enters 125 best pictures in authoritative opinion of visitors of the website IMDb. Exactly between “Snatch“ of Guy Richie and “Fargo“ brothers Koenov.
Perhaps, to admirers of more traditional police fighters with Van Damme`s participation, Segal and other “toilers of a genre“ the tape will seem unreasonably tightened and even boring. In it it is really a little action, it is more than psychological game of characters, intense dialogues and household scenes. But judges of epic criminal movies surely like be pleasant.